Antonello da Caserta, also Anthonello, Antonellus Marot, was an Italian composer of the medieval era, active in the late 14th and early 15th centuries.

Essentially nothing is known of Antonello's life. Earlier in the 20th century, Nino Pirrotta thought Caserta was a Neapolitan composer, but because most of his surviving works are in northern Italian manuscripts, this is disputed. Allusions in his texts suggest that he worked for the Visconti family in Milan around the turn of the 15th century, and archival documents place him in Pavia in 1402. Antonello was a monk, though the order to which he belonged is not known.

Antonello da Caserta is one of the more renowned composers of the generation after Guillaume de Machaut. Antonello set texts in both French and Italian, including Beauté parfaite of Machaut; this is the only surviving musical setting of a poem by Machaut which is not by Machaut himself. He was highly influenced by French musical models, one of the first Italians to be so. One of his ballades quotes Jehan Vaillant, a composer active in Paris, he also made use of irregular mensuration signs, found in few other manuscripts. He also uses proportional rhythms in some ballades, a device which became more popular in later periods, his Italian works tend to be simpler, especially the ballate. Both his French and Italian works take as their subjects courtly love.

1.
Medieval music
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Medieval music consists of songs and instrumental pieces from about 400 A. D. to 1400. Medieval music was an era of Western music, including music used for the church. Medieval music includes vocal music, such as Gregorian chant and choral music, solely instrumental music. Gregorian chant was sung by monks during Catholic Mass, the Mass is a reenactment of Christs Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music and this era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the era and the beginning of the Renaissance music era is difficult. The date range in this article is the one adopted by musicologists. S. Bach and Classical music period composers from the 1700s such as W. A. Mozart, the most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned by ear and this greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music made it easier to disseminate songs and musical pieces to a larger number of people. Many instruments used to perform medieval music still exist in the 21st century, the flute was made of wood in the medieval era] rather than silver or other metal, and could be made as a side-blown or end-blown instrument. While modern orchestral flutes are made of metal and have complex key mechanisms and airtight pads. The recorder was made of wood during the Medieval era, and despite the fact that in the 2000s, it may be made of synthetic materials, it has more or less retained its past form. The gemshorn is similar to the recorder as it has holes on its front. One of the predecessors, the pan flute, was popular in medieval times. This instruments pipes were made of wood, and were graduated in length to produce different pitches, Medieval music used many plucked string instruments like the lute, a fretted instrument with a pear-shaped hollow body which is the predecessor to the modern guitar. Other plucked stringed instruments included the mandore, gittern, citole, the bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. Like the modern violin, a performer produced sound by moving a bow with tensioned hair over tensioned strings, the hurdy-gurdy was a mechanical violin using a rosined wooden wheel attached to a crank to bow its strings

2.
Naples
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Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC

3.
House of Visconti
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Visconti is the family name of two important Italian noble dynasties of the Middle Ages. There are two distinct Visconti families, the first one in the Republic of Pisa in the mid twelfth century who achieved prominence first in Pisa, the second rose to power in Milan, where they ruled from 1277 to 1447 and where several collateral branches still exist. Pope Gregory X, who reigned from 1271 to 1276, was a member of the House of Visconti, the renowned director Luchino Visconti is a scion of this latter family. This symbol is closely connected with Milan. Any link between the two families in Pisa-Gallura and Milan has yet to be proven, the first Visconti of note in Pisa was Alberto, who bore the title patrician. Albertos son, Eldizio, bore the titles patrician and consul from 1184 to 1185 and it was Eldizios sons, Lamberto and Ubaldo I, who brought the family to the height of its influence in Pisa and Sardinia. Both of them carried the title of patrician and each served a term as podestà, in 1212 various factions, pro- and anti-Visconti clashed for control over Pisa. In mid-January 1213, William I of Cagliari led a coalition of forces to victory in battle near Massa over the combined forces of Lucca. Afterward, Pisa divided power between four rectores, one of which was a Visconti, the Visconti of Sardinia continued to take a part in Pisan politics to the end of the century, but their influence there was greatly diminished after 1213. In Sardinia Eldizio had married a daughter of Torchitorio III of Cagliari, in 1207, Lamberto married Elena, the heiress of Barisone II of Gallura, thus securing control over the northeastern corner of Sardinia with his capital at Civita. In 1215, he and Ubaldo established their hegemony over the Giudicato of Cagliari in the south of the island as well, through advantageous marriages, Lambertos son, Ubaldo II, secured power in Logudoro for a time. By mid century, Pisan authority was unopposed in Sardinia thanks to intermarriages between the Visconti family and the great families of Pisa and Sardinia. Lambert Ubaldo John Nino his wife Beatrice dEste married secondly on 24 June 1300 to Galeazzo I Visconti, Lord of Milan. Joanna stepsister of Azzone Visconti of the Milan line The effective founder of the Visconti of Milan, Ottone, the family loved to claim legendary versions about its origins, while established facts reflect quite sober and almost humble beginnings. The branch of the Visconti family that came to rule Milan was originally entrusted with the lordship of Massino, a village above Lago Maggiore, which they controlled from the twelfth century. It is said that the Milanese Visconti had their origins in a family of capitanei whom archbishop Landulf of Milan had granted certain feudal holdings known as caput plebis. A document from the year 1157 says the Visconti were holders of the captaincy of Marliano, decades before that, before 1070, they had gained the title of viscount to be later inherited down the male line. The Visconti ruled Milan until the early Renaissance, first as Lords, then, from 1395, with the mighty Gian Galeazzo who endeavored to unify Northern Italy and Tuscany, Visconti rule in Milan ended with the death of Filippo Maria Visconti in 1447

4.
Milan
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Milan is a city in Italy, capital of the Lombardy region, and the most populous metropolitan area and the second most populous comune in Italy. The population of the city proper is 1,351,000, Milan has a population of about 8,500,000 people. It is the industrial and financial centre of Italy and one of global significance. In terms of GDP, it has the largest economy among European non-capital cities, Milan is considered part of the Blue Banana and lies at the heart of one of the Four Motors for Europe. Milan is an Alpha leading global city, with strengths in the arts, commerce, design, education, entertainment, fashion, finance, healthcare, media, services, research, and tourism. Its business district hosts Italys Stock Exchange and the headquarters of the largest national and international banks, the city is a major world fashion and design capital, well known for several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair. The city hosts numerous cultural institutions, academies and universities, with 11% of the national total enrolled students, Milans museums, theatres and landmarks attract over 9 million visitors annually. Milan – after Naples – is the second Italian city with the highest number of accredited stars from the Michelin Guide, the city hosted the Universal Exposition in 1906 and 2015. Milan is home to two of Europes major football teams, A. C. Milan and F. C. Internazionale, the etymology of Milan is uncertain. One theory holds that the Latin name Mediolanum comes from the Latin words medio, however, some scholars believe lanum comes from the Celtic root lan, meaning an enclosure or demarcated territory in which Celtic communities used to build shrines. Hence, Mediolanum could signify the central town or sanctuary of a Celtic tribe, indeed, the name Mediolanum is borne by about sixty Gallo-Roman sites in France, e. g. Saintes and Évreux. Alciato credits Ambrose for his account, around 400 BC, the Celtic Insubres settled Milan and the surrounding region. In 222 BC, the Romans conquered the settlement, renaming it Mediolanum, Milan was eventually declared the capital of the Western Roman Empire by Emperor Diocletian in 286 AD. Diocletian chose to stay in the Eastern Roman Empire and his colleague Maximianus ruled the Western one, immediately Maximian built several monuments, such as a large circus 470 m ×85 m, the Thermae Herculeae, a large complex of imperial palaces and several other buildings. With the Edict of Milan of 313, Emperor Constantine I guaranteed freedom of religion for Christians, after the city was besieged by the Visigoths in 402, the imperial residence was moved to Ravenna. In 452, the Huns overran the city, in 539, the Ostrogoths conquered and destroyed Milan during the Gothic War against Byzantine Emperor Justinian I. In the summer of 569, a Teutonic tribe, the Lombards, conquered Milan, some Roman structures remained in use in Milan under Lombard rule. Milan surrendered to the Franks in 774 when Charlemagne took the title of King of the Lombards, the Iron Crown of Lombardy dates from this period

5.
Pavia
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Pavia is a town and comune of south-western Lombardy, northern Italy,35 kilometres south of Milan on the lower Ticino river near its confluence with the Po. It has a population of c, the city was the capital of the Kingdom of the Lombards from 572 to 774. Pavia is the capital of the province of Pavia, known for agricultural products including wine, rice, cereals. Although there are a number of industries located in the suburbs, Pavia is the episcopal seat of the Roman Catholic Bishop of Pavia. The city possesses many artistic and cultural treasures, including several important churches and museums, dating back to pre-Roman times, the town of Pavia, then known as Ticinum, was a municipality and an important military site under the Roman Empire. It was said by Pliny the Elder to have founded by the Laevi and Marici. It was at Pavia in 476 AD that the reign of Romulus Augustulus, ten months after Romulus Augustulus’s reign began, Orestes’s soldiers under the command of one of his officers named Odoacer, rebelled and killed Orestes in the city of Pavia in 476. Without his father Romulus Augustulus was powerless, instead of killing Romulus Augustulus, Odoacer pensioned him off at 6,000 solidi a year before declaring the end of the Western Roman Empire and himself king of the new Kingdom of Italy. Odoacer’s reign as king of Italy did not last long, because in 488 the Ostrogothic peoples led by their king Theoderic invaded Italy and waged war against Odoacer. After fighting for 5 years Theoderic defeated Odoacer and on March 15,493 assassinated Odoacer at a banquet meant to negotiate a peace between the two rulers, with the establishment of the Ostrogoth kingdom based in northern Italy, Theoderic began his vast program of public building. Pavia was among several cities that Theodoric chose to restore and expand and he began the construction of the vast palace complex that would eventually become the residence of Lombard monarchs several decades later. Near the end of Theoderic’s reign the Christian philosopher Boethius was imprisoned in one of Pavia’s churches from 522 to 525 before his execution for treason and it was during Boethius’s captivity in Pavia that he wrote his seminal work the Consolation of Philosophy. Pavia played an important role in the war between the Eastern Roman Empire and the Ostrogoths that began in 535, after the capitulation of the Ostrogothic leadership in 540 more than a thousand men remained garrisoned in Pavia and Verona dedicated to opposing Eastern Roman rule. The resilience of Ostrogoth strongholds like Pavia against invading forces allowed pockets of Ostrogothic rule to limp along until finally being defeated in 561, Pavia and the peninsula of Italy didn’t remain long under the rule of the Eastern Roman Empire for in 568 a new people invaded Italy. This new invading people in 568 were the Lombards, in their invasion of Italy in 568, the Lombards were led by their king Alboin, who would become the first Lombard king of Italy. Alboin captured much of northern Italy in 568 but his progress was halted in 569 by the city of Pavia. Meanwhile Alboin, after driving out the soldiers, took possession of everything as far as Tuscany except Rome and Ravenna and some other fortified places which were situated on the shore of the sea. ”The Siege of Ticinum finally ended with the Lombards capturing the city of Pavia in 572. Pavia’s strategic location and the Ostrogoth palaces located within it would make Pavia by the 620s the main capital of the Lombards’ Kingdom of Pavia, under Lombard rule many monasteries, nunneries, and churches were built at Pavia by the devout Christian Lombard monarchs

6.
Monk
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A monk is a person who practices religious asceticism, living either alone or with any number of other monks. The concept is ancient and can be seen in many religions, in the Greek language the term can apply to women, but in modern English it is mainly in use for men. The word nun is typically used for female monastics, although the term monachos is of Christian origin, in the English language monk tends to be used loosely also for both male and female ascetics from other religious or philosophical backgrounds. However, being generic, it is not interchangeable terms that denote particular kinds of monk, such as cenobite, hermit, anchorite, hesychast. In Eastern Orthodoxy monasticism holds a special and important place. Orthodox monastics separate themselves from the world in order to pray unceasingly for the world and they do not, in general, have as their primary purpose the running of social services, but instead are concerned with attaining theosis, or union with God. However, care for the poor and needy has always been an obligation of monasticism, the level of contact though will vary from community to community. Hermits, on the hand, have little or no contact with the outside world. Orthodox monasticism does not have religious orders as are found in the West, basil the Great and the Philokalia, which was compiled by St. Nikodemos of the Holy Mountain and St. Makarios of Corinth. Hesychasm is of importance in the ascetical theology of the Orthodox Church. Meals are usually taken in common in a dining hall known as a trapeza. Food is usually simple and is eaten in silence while one of the brethren reads aloud from the writings of the Holy Fathers. The monastic lifestyle takes a deal of serious commitment. Within the cenobitic community, all monks conform to a way of living based on the traditions of that particular monastery. In struggling to attain this conformity, the comes to realize his own shortcomings and is guided by his spiritual father in how to deal honestly with them. For this same reason, bishops are almost always chosen from the ranks of monks, Eastern monasticism is found in three distinct forms, anchoritic, cenobitic, and the middle way between the two, known as the skete. One normally enters a community first, and only after testing and spiritual growth would one go on to the skete or, for the most advanced. However, one is not necessarily expected to join a skete or become a solitary, in general, Orthodox monastics have little or no contact with the outside world, including their own families

7.
Guillaume de Machaut
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Guillaume de Machaut was a medieval French poet and composer. He is one of the earliest composers on whom significant biographical information is available, according to Daniel Leech-Wilkinson, Machaut was the last great poet who was also a composer. Well into the 15th century, Machauts poetry was admired and imitated by other poets. Machaut composed in a range of styles and forms. He is a part of the movement known as the ars nova. Machaut helped develop the motet and secular song forms, Machaut wrote the Messe de Nostre Dame, the earliest known complete setting of the Ordinary of the Mass attributable to a single composer. Guillaume de Machaut was born about 1300, and educated in the region around Reims and his surname most likely derives from the nearby town of Machault,30 km northeast of Reims in the Ardennes region. He was employed as secretary to John I, Count of Luxembourg and King of Bohemia from 1323 to 1346 and he often accompanied King John on his various trips, many of them military expeditions around Europe. He was named the canon of Verdun in 1330, Arras in 1332, by 1340, Machaut was living in Reims, having relinquished his other canonic posts at the request of Pope Benedict XII. Machaut survived the Black Death that devastated Europe, and spent his years living in Reims composing and supervising the creation of his complete-works manuscripts. His poem Le voir dit purports to recount a late love affair with a 19-year-old girl, Péronne dArmentières, when he died in 1377, other composers such as François Andrieu wrote elegies lamenting his death. That the majority of his lyrics are not set to music suggests that he wrote the text before setting some to music. In technical terms, Machaut was a master of elaborate rhyme schemes, Guillaume de Machauts narrative output is dominated by the dit. Machaut is also the author of a chronicle of the chivalric deeds of Peter I of Cyprus. His unusual self-reflective usage of himself as the narrator of his dits gleans some personal philosophical insights as well, at the end of his life, Machaut wrote a poetic treatise on his craft. This reflects on his conception of the organization of poetry into set genres and rhyme schemes, and this preoccupation with ordering his oeuvre is reflected in an index to MS A entitled Vesci lordonance que G. de Machaut veut quil ait en son livre. Machauts poetry had an effect on the works of Eustache Deschamps, Jean Froissart, Christine de Pizan, René dAnjou and Geoffrey Chaucer. The poem below, Puis quen oubli, is his 18th rondeau, Dit de lAlérion aka Dit des quatre oiseaux – A symbolic tale of love, the narrator raises four different birds, but each one flees him, one day the second bird comes back to him

8.
Ballade (forme fixe)
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The ballade is a form of medieval and Renaissance French poetry as well as the corresponding musical chanson form. It was one of the three formes fixes and one of the forms in France most commonly set to music between the late 13th and the 15th centuries. The formes fixes were standard forms in French-texted song of the fourteenth and fifteenth centuries, the ballade is usually in three stanzas, each ending with a refrain. The ballade as a form typically consists of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain, the stanzas are often followed by a four-line concluding stanza usually addressed to a prince. The rhyme scheme is therefore usually ababbcbC ababbcbC ababbcbC bcbC, where the capital C is a refrain, the many different rhyming words that are needed makes the form more difficult for English than for French poets. Geoffrey Chaucer wrote in the form and it was revived in the 19th century by English-language poets including Dante Gabriel Rossetti and Algernon Charles Swinburne. Other notable English-language ballade writers are Andrew Lang, Hilaire Belloc, a humorous example is Wendy Copes Proverbial Ballade. In many ballades, the part of the B section may reintroduce melodic material referring back to the end of the A part. An alternative form employed by Machaut, known as duplex or balladelle, has the B part also divided into two repetitions, with the refrain line sung as part of the repetition. A famous exception to the form is Se la face ay pale by Guillaume Dufay. Guillaume de Machaut wrote 42 ballades set to music, a few of them set two or even three poems to music simultaneously, with different texts sung in different voices. Most of the others have a single texted voice with either one or two untexted accompanying voices, one of the most notable writers of ballades in the 15th century was François Villon. There are many variations to the ballade. It is in ways similar to the ode and chant royal. A seven-line ballade, or ballade royal, consists of four stanzas of rhyme royal, a ballade supreme has ten-line stanzas rhyming ababbccdcD, with the envoi ccdcD or ccdccD. An example is Ballade des Pendus by François Villon, there are instances of a double ballade and double-refrain ballade

9.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town

10.
Mensural notation
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Mensural notation is the musical notation system used for European vocal polyphonic music from the later part of the 13th century until about 1600. The term mensural refers to the ability of this system to describe precisely measured rhythmic durations in terms of proportions between note values. e. Mensural notation grew out of an earlier, more limited method of notating rhythms in terms of fixed repetitive patterns, the rhythmic modes. An early form of notation was first described and codified in the treatise Ars cantus mensurabilis by Franco of Cologne. Around 1400, the French system was adopted across Europe, after around 1600, mensural notation gradually evolved into modern measure notation. The decisive innovation of mensural notation was the use of different note shapes to denote rhythmic durations that stood in well-defined. Mensural notation differed from the system in that the values of each note were more strongly context-dependent. In particular, a note could have the length of two or three units of the next smaller order, whereas in modern notation these relations are invariably binary. Whether a note was to be read as ternary or binary was a partly of context rules. There was also a system of temporarily shifting note values by proportion factors like 2,1 or 3,2. Mensural notation used no bar lines, and it sometimes employed special connected note forms inherited from earlier medieval notation. Unlike in the earliest beginnings of the writing of polyphonic music, Mensural notation was extensively described and codified by contemporary theorists. As these writings, like all work of the time, were usually in Latin. The system of note types used in mensural notation closely corresponds to the modern system, very rarely, mensural notation also used yet smaller subdivisions, such as the semifusa. On the other hand, there were two larger values, the longa and the maxima, which are no longer in regular use today. Despite these nominal equivalences, each note had a much shorter temporal value than its modern counterpart, between the 14th and 16th centuries, composers repeatedly introduced new note shapes for ever smaller temporal divisions of rhythm, and the older, longer notes were slowed down in proportion. Thus, what was originally the shortest of all values used, the semibreve, has become the longest note used routinely today. Originally, all notes were written in solid, filled-in form, in the mid-15th century, scribes began to use hollow note shapes, reserving black shapes only for the smallest note values

11.
Courtly love
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Courtly love was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and this kind of love is originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love changed and attracted a larger audience. In the high Middle Ages, a game of love developed around these ideas as a set of social practices, loving nobly was considered to be an enriching and improving practice. Courtly love began in the ducal and princely courts of Aquitaine, Provence, Champagne, ducal Burgundy, the term courtly love was first popularized by Gaston Paris and has since come under a wide variety of definitions and uses. Its interpretation, origins and influences continue to be a matter of critical debate, Paris said amour courtois was an idolization and ennobling discipline. Sexual satisfaction, Paris said, may not have been a goal or even end result, the term and Pariss definition were soon widely accepted and adopted. In addition, other terms and phrases associated with courtliness and love are common throughout the Middle Ages and this presents a clear problem in the understanding of courtliness. The practice of love was developed in the castle life of four regions, Aquitaine, Provence, Champagne and ducal Burgundy. Eleanor of Aquitaine brought ideals of love from Aquitaine first to the court of France, then to England. Her daughter Marie, Countess of Champagne brought courtly behavior to the Count of Champagnes court, Courtly love found its expression in the lyric poems written by troubadours, such as William IX, Duke of Aquitaine, one of the first troubadour poets. The troubadours model of the lady was the wife of his employer or lord. When her husband was away on Crusade or other business she dominated the household and cultural affairs, the lady was rich and powerful and the poet gave voice to the aspirations of the courtier class, for only those who were noble could engage in courtly love. This new kind of love saw nobility not based on wealth and family history, lovers in the context of courtly love need not refer to sex, but rather the act of emotional loving. These lovers had short trysts in secret, which escalated mentally, the rules of courtly love were codified by the late 12th century in Andreas Capellanus highly influential work De Amore. De amore lists such rules as Marriage is no excuse for not loving, He who is not jealous cannot love, No one can be bound by a double love. Much of its structure and its sentiments were derived from Ovids Ars amatoria, given that practices similar to courtly love were already prevalent in Al-Andalus and elsewhere in the Islamic world, it is very likely that Islamic practices influenced the Christian Europeans. William of Aquitane, for example, was involved in the First Crusade, the notions of love for loves sake and exaltation of the beloved lady have been traced back to Arabic literature of the 9th and 10th centuries. The notion of the power of love was developed in the early 11th century by the Persian psychologist and philosopher, Ibn Sina

12.
The New Grove Dictionary of Music and Musicians
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The New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is one of the largest reference works on Western music, in recent years it has been made available as an electronic resource called Grove Music Online, which is now an important part of Oxford Music Online. A Dictionary of Music and Musicians was first published in four volumes edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume, an Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In 1900, minor corrections were made to the plates and the series was reissued in four volumes. The original edition and the reprint are now available online. Grove limited the chronological span of his work to begin at 1450 while continuing up to the present day, the second edition, in five volumes, was edited by Fuller Maitland and published from 1904 to 1910, this time as Groves Dictionary of Music and Musicians. The individual volumes of the edition were reprinted many times. An American Supplement edited by Waldo Selden Pratt and Charles N. Boyd was added in 1920 and this edition removed the first editions beginning date of 1450, though important earlier composers and theorists are still missing from this edition. These volumes are now freely available online. The third edition, also in five volumes, was a revision of the 2nd edition. The fourth edition, also edited by Colles, was published in 1940 in five volumes, in addition to the American Supplement, MacMillan also published a Supplementary Volume edited by Colles. The fifth edition, in nine volumes, was edited by Eric Blom and this was the most thoroughgoing revision of the work since its inception, with many articles rewritten in a more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him, an additional Supplementary Volume, prepared for the most part by Eric Blom, followed in 1961. Blom died in 1959, and the Supplementary Volume was completed by Denis Stevens, the fifth edition was reprinted in 1966,1968,1970,1973, and 1975. The next edition was published in 1980 under the name The New Grove Dictionary of Music and its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication. It was reprinted with minor corrections each subsequent year until 1995, in the mid-1990s, the hardback set sold for about $2,300. A paperback edition was reprinted in 1995 which sold for $500, the second edition under this title was published in 2001, in 29 volumes. It was also available by subscription on the internet in a service called Grove Music Online

13.
Ars nova
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The term is sometimes used more generally to refer to all European polyphonic music of the 14th century. For instance, Italian ars nova is sometimes used to denote the music of Francesco Landini, the ars in ars nova can be read as technique, or style. The term was first used in two treatises, titled Ars novae musicae by Johannes de Muris, and a collection of writings attributed to Philippe de Vitry often simply called Ars nova today. However, the term was only first used to describe an era by Johannes Wolf in 1904. Roughly, then, the ars antiqua is the music of the century. Other musical periods and styles have at times been called the new art, however, in modern historiographical usage. Stylistically, the music of the ars nova differed from the era in several ways. The overall aesthetic effect of changes was to create music of greater expressiveness. The most famous practitioner of the new style was Guillaume de Machaut. The ars-nova style is evident in his body of motets, lais, virelais, rondeaux. Denkmäler alter Musik aus dem Codex Reina, esther Lamandier, voice, harp, and portative organ. La fontaine amoureuse, Poetry and Music of Guillaume de Machaut, Music for a While, with Tom Klunis, narrator. La Messe de Nostre Dame und Motetten, James Bowman, Tom Sutcliffe, countertenors, Capella Antiqua München. La messe de Nostre Dame, Le voir dit, Messe de Notre Dame, Le lai de la fonteinne, Ma fin est mon commencement. Philippe De Vitry and the Ars Nova—Motets, sequentia Freiburg, Deutsche Harmonia Mundi,1991. Jean Bollery, Studio der Frühen Musik, anne Azéma, Dominique Visse, Boston Camerata and Ensemble Project Ars Nova. The Service of Venus and Mars, Music for the Knights of the Garter, the Spirit of England and France I, Music of the Late Middle Ages for Court and Church. The Study of Love, French Songs and Motets of the 14th Century, in Medieval France, An Encyclopedia, edited by William W. Kibler, Grover A. Zinn, Lawrence Earp, and John Bell Henneman, Jr. 72–73

14.
Ars subtilior
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Ars subtilior is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, also in northern Spain at the end of the fourteenth century. The style also is found in the French Cypriot repertory, primary sources for the ars subtilior are the Chantilly Codex, the Modena Codex, and the Turin Manuscript. Musically, the productions of the ars subtilior are highly refined, complex, difficult to sing, hoppin suggests the superlative ars subtilissima, saying, not until the twentieth century did music again reach the most subtle refinements and rhythmic complexities of the manneristic style. They are almost exclusively secular songs, and have as their subject matter love, war, chivalry, there are even some songs written in praise of public figures. He cites Baude Cordiers perpetual canon Tout par compas, notated on a circular staff, the town on the Rhône had developed into an active cultural center, and produced the most significant surviving body of secular song of the late fourteenth century. The style spread into northern Spain and as far as Cyprus, French, Flemish, Spanish and Italian composers used the style. Manuscripts of works in the ars subtilior occasionally were themselves in unusual and expressive shapes, as well as Baude Cordiers circular canon and the heart-shaped score shown above, Jacob Senlechess La Harpe de melodie is written in the shape of a harp. The main composers of the ars subtilior are Anthonello de Caserta, Johannes Cunelier, Egidius, Galiot, Matheus de Perusio, Philipoctus de Caserta, Jacob Senleches, modernism and Music, An Anthology of Sources. The Development of French Secular Music During the Fourteenth Century, die Anwendung der Diminution in der Handschrift Chantilly 1047. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell

15.
Francesco Landini
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Francesco degli Organi, Francesco il Cieco, or Francesco da Firenze, called by later generations Francesco Landini or Landino was an Italian composer, organist, singer, poet and instrument maker. He was one of the most famous and revered composers of the half of the 14th century. Most of the biographical data on him comes from a 1385 book on famous Florentine citizens by chronicler Filippo Villani. The reason is that the surname Landini or Landino has not been linked to the composer in any sources of the 14th century nor in secondary references in the 15th century. The evidence linking Francesco to the Landini family via his presumed father and it can therefore also no longer be maintained that the painter Jacopo del Casentino was his father or that Cristoforo Landino was his great-nephew. Landini was most likely born in Florence, though Cristoforo Landino, blind from childhood, Landini became devoted to music early in life, and mastered many instruments, including the lute, as well as the art of singing, writing poetry, and composition. Despite his young age, Landini was already active in the early 1350s, according to Villani, Landini was given a crown of laurel by the King of Cyprus, who was in Venice for several periods during the 1360s. Landini probably spent some time in northern Italy prior to 1370 and he was employed as organist at the Florentine monastery of Santa Trinità in 1361, and at the church of San Lorenzo from 1365 onward. He was heavily involved in the political and religious controversies of his day, according to Villani, around or shortly after 1375, Andreas hired him as a consultant to help build the organ at the Servite house in Florence. Among the surviving records are the receipts for the wine that the two consumed during the three days it had taken to tune the instrument. Landini also helped build the new organ at SS Annunziata in 1379, and in 1387 he was involved in yet another organ-building project and this book, written in 1389 contains short stories, one of which supposedly was related by Landini himself. His reputation for moving an audience with his music was so powerful that writers noted the sweetness of his melodies was such that hearts burst from their bosoms and he is buried in the church of San Lorenzo in Florence. His tombstone, lost until the 19th century and now displayed in the church. Landini was the foremost exponent of the Italian Trecento style, sometimes called the Italian ars nova. His output was almost exclusively secular, while there are records that he composed sacred music, none of it has survived. What have survived are eighty-nine ballate for two voices, forty-two ballate for three voices, and another nine which exist in two and three-voice versions. In addition to the ballate, a number of madrigals have survived. Landini is assumed to have written his own texts for many of his works and his output, preserved most completely in the Squarcialupi Codex, represents almost a quarter of all surviving 14th-century Italian music

16.
Chantilly Codex
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The Chantilly Codex is a manuscript of medieval music containing pieces from the style known as the Ars subtilior. It is held in the museum at the Château de Chantilly in Chantilly, most of the compositions in the Chantilly Codex date from ca. There are 112 pieces total, mostly by French composers, the codex contains examples of many of the most popular courtly dance styles of its time, such as ballades, rondeaus, virelais, and isorhythmic motets. Some of the motets are rhythmically complex, and are written in intricately exact musical notation. Two pieces by Baude Cordier were added at a later date at the front of the manuscript. The piece Belle, Bonne, Sage is a play on words on the Cor in Cordier, most of the 112 pieces are found in Willi Apel, ed. French Secular Compositions of the Fourteenth Century The following recordings include selections from the 112 pieces, Ensemble Organum. Codex Chantilly, Airs de cour du XIVe siècle, Ensemble P. A. N. Ars Magis Subtiliter, Secular Music of the Chantilly Codex. Medieval Ensemble of London Florilegium Series, LP recording DSDL704, Reissued 2007 on L’Oiseau-Lyre CD4759119. The Motets of the Manuscripts Chantilly, Musée condé,564 and Modena, Biblioteca Estense, unusual Phenomena in the Transmission of Late Fourteenth-Century Polyphonic Music. Musica disciplina 38 Musik im kirchlichen, höfischen und städtischen Leben vom 13, sources, MS, VII, French polyphony 1300–1420 in Grove Music Online, Haggh, Barbara. The Norton Introduction to Music History, Ars Subtilior and the Patronage of French Princes. Early Music History, Studies in Medieval and Early Modern Music 22, the Chantilly codex, The Manuscript, Its Music, Its Scholarly Reception. Chapel Hill, University of North Carolina,2001, the Chantilly Codex, Scores at the International Music Score Library Project

17.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records

18.
MusicBrainz
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MusicBrainz is a project that aims to create an open data music database that is similar to the freedb project. MusicBrainz was founded in response to the placed on the Compact Disc Database. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become an open online database for music. MusicBrainz captures information about artists, their works, and the relationships between them. Recorded works entries capture at a minimum the album title, track titles, and these entries are maintained by volunteer editors who follow community written style guidelines. Recorded works can also store information about the date and country. As of 26 July 2016, MusicBrainz contained information about roughly 1.1 million artists,1.6 million releases, end-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as MP3, Ogg Vorbis or AAC. As with other contributions, the MusicBrainz community is in charge for maintaining and reviewing the data, besides collecting metadata about music, MusicBrainz also allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this, in 2000, MusicBrainz started using Relatables patented TRM for acoustic fingerprint matching. This feature attracted many users and allowed the database to grow quickly, however, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions. This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, tRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND, some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free service was uncertain, a replacement for it was sought. The Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský, while AcoustID and Chromaprint are not officially MusicBrainz projects, they are closely tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second, additional post-processing is then applied to compress this fingerprint while retaining patterns. The AcoustID search server then searches from the database of fingerprints by similarity, since 2003, MusicBrainzs core data are in the public domain, and additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL, the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, in December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye